Tonya Williams describes being ‘in shock' after receiving Canada Walk of Fame honour
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The actor and producer was given the award after years of championing diversity in film and TV.
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CTV News
2 hours ago
- CTV News
Fans criticize Beyoncé for shirt calling Native Americans ‘the enemies of peace'
A T-shirt worn by Beyoncé during a Juneteenth performance on her 'Cowboy Carter' tour has sparked a discussion over how Americans frame their history and caused a wave of criticism for the Houston-born superstar. The T-shirt worn during a concert in Paris featured images of the Buffalo Soldiers, who belonged to Black U.S. Army units active during the late 1800s and early 1900s. On the back was a lengthy description of the soldiers that included 'Their antagonists were the enemies of peace, order and settlement: warring Indians, bandits, cattle thieves, murderous gunmen, bootleggers, trespassers, and Mexican revolutionaries.' Images of the shirt and videos of the performance are also featured on Beyoncé's website. As she prepares to return to the U.S. for performances in her hometown this weekend, fans and Indigenous influencers took to social media to criticize Beyoncé for framing Native Americans and Mexican revolutionaries as anything but the victims of American imperialism and promoting anti-Indigenous language. A publicist for Beyoncé did not respond to requests for comment. Who were the Buffalo Soldiers? The Buffalo Soldiers served in six military units created after the Civil War in 1866. They were comprised formerly enslaved men, freemen, and Black Civil War soldiers and fought in hundreds of conflicts — including in the Spanish-American War, World War I, and World War II — until they were disbanded in 1951. As the quote on Beyoncé's shirt notes, they also fought numerous battles against Indigenous peoples as part of the U.S. Army's campaign of violence and land theft during the country's westward expansion. Some historians say the moniker 'Buffalo Soldiers' was bestowed by the tribes who admired the bravery and tenacity of the fighters, but that might be more legend than fact. 'At the end of the day, we really don't have that kind of information,' said Cale Carter, director of exhibitions at the Buffalo Soldiers National Museum in Houston. Carter and other museum staff said that, only in the past few years, the museum made broader efforts to include more of the complexities of the battles the Buffalo Soldiers fought against Native Americans and Mexican revolutionaries and the role they played in the subjugation of Indigenous peoples. They, much like many other museums across the country, are hoping to add more nuance to the framing of American history and be more respectful of the ways they have caused harm to Indigenous communities. 'We romanticize the Western frontier,' he said. 'The early stories that talked about the Buffalo Soldiers were impacted by a lot of those factors. So you really didn't see a changing in that narrative until recently.' There has often been a lack of diverse voices discussing the way Buffalo Soldiers history is framed, said Michelle Tovar, the museum's director of education. The current political climate has put enormous pressure on schools, including those in Texas, to avoid honest discussions about American history, she said. 'Right now, in this area, we are getting push back from a lot of school districts in which we can't go and teach this history,' Tovar said. 'We are a museum where we can at least be a hub, where we can invite the community regardless of what districts say, invite them to learn it and do what we can do the outreach to continue to teach honest history.' Historians scrutinize reclamation motive Beyoncé's recent album 'Act II: Cowboy Carter' has played on a kind of American iconography, which many see as her way of subverting the country music genre's adjacency to whiteness and reclaiming the cowboy aesthetic for Black Americans. Last year, she became the first Black woman ever to top Billboard's country music chart, and 'Cowboy Carter' won her the top prize at the 2025 Grammy Awards, album of the year. 'The Buffalo Soldiers play this major role in the Black ownership of the American West,' said Tad Stoermer, a historian and professor at Johns Hopkins University. 'In my view, (Beyoncé is) well aware of the role that these images play. This is the 'Cowboy Carter' tour for crying out loud. The entire tour, the entire album, the entire piece is situated in this layered narrative.' But Stoermer also points out that the Buffalo Soldier have been framed in the American story in a way that also plays into the myths of American nationalism. As Beyoncé's use of Buffalo Soldiers imagery implies, Black Americans also use their story to claim agency over their role in the creation of the country, said Alaina E. Roberts, a historian, author and professor at Pittsburgh University who studies the intersection of Black and Native American life from the Civil War to present day. 'That's the category in which she thought maybe she was coming into this conversation, but the Buffalo Soldiers are even a step above that because they were literally involved in not just the settlement of the West but of genocide in a sense,' she said. Online backlash builds ahead of Houston shows Several Native influencers, performers, and academics took to social media this week to criticize Beyoncé or call the language on her shirt anti-Indigenous. 'Do you think Beyoncé will apologize (or acknowledge) the shirt,' an Indigenous news and culture Instagram account with more than 130,000, asked in a post Thursday. Many of her critics, as well as fans, agree. A flood of social media posts called out the pop star for the historic framing on the shirt. 'The Buffalo Soldiers are an interesting historical moment to look at. But we have to be honest about what they did, especially in their operations against Indigenous Americans and Mexicans,' said Chisom Okorafor, who posts on TikTok under the handle @confirmedsomaya. Okorafor said there is no 'progressive' way to reclaim America's history of empire building in the West, and that Beyoncé's use of Western symbolism sends a problematic message. 'Which is that Black people too can engage in American nationalism,' she said. 'Black people too can profit from the atrocities of American empire. It is a message that tells you to abandon immigrants, Indigenous people, and people who live outside of the United States. It is a message that tells you not only is it a virtue to have been born in this country but the longer your line extends in this country the more virtuous you are.' Graham Lee Brewer, The Associated Press
Globe and Mail
3 hours ago
- Globe and Mail
Canada Day celebrations in the U.S. take on a deeper meaning this year
On Canada Day, the Canadian community in Los Angeles will gather to celebrate at an art deco bar in Hollywood. A DJ will spin Cancon classics and the menu will feature poutine, Caesars and Moosehead. Unlike in past years, however, there will be no cover charge or photographer, in a bid to encourage as much attendance as possible. It will be a chance, organizers hope, for Canadian expats to commiserate after an often-stressful six months. 'It's about pulling everyone together and keeping everyone unified,' said Erin Buckley Burnett, president of Canadians Abroad of Southern California. 'We just want everyone to come to a safe place and talk and have a good time.' For many of the estimated 800,000 Canadians living across the U.S., the holiday has taken on added meaning with the return of Donald Trump to the White House. There are worries over visa renewals amid the horror stories of people with valid work permits getting thrown into immigration detention. There is the trade war. And there are Mr. Trump's '51st state' annexation threats. 'It definitely felt more important to do it this year and get Canadians together to, for lack of a better term, unify ourselves,' said Marty Seed, who organized his 19th Canada Fest in Atlanta last weekend. The event, held at a brewery, drew about 300 people with live music, kids street hockey and a poutine truck. New Brunswick Celtic folk-rockers Jason Martell and Corey MacDonald got the children up onstage to dance. 'I'd never seen so many families and kids attend. It was a great turnout. It was a great, fun day,' Mr. Seed said. Toronto-based Big Sugar had been scheduled to perform, he said, but the band had to pull out after his drummer couldn't get his U.S. performers visa processed on time. A computer programmer who lived in Halifax, Toronto and Ottawa before moving to the U.S. in 2000, Mr. Seed's prominence in the local expat network has meant he's received a lot of ribbing in recent months about his country being annexed. 'The humour didn't last too long for me, personally. It's like, okay, now you're being disrespectful,' he said. But the Americans he spoke to at Canada Fest took the opposite tack. 'They jokingly said, 'We apologize for how our president has been treating you.'' Within his circles, he has been advising people eligible for U.S. citizenship to apply for it, to have the best chance at avoiding immigration problems. One man Mr. Seed plays hockey with, for instance, has lived in the U.S. for 30 years but has chosen to remain on a green card. Even before Canada Day, the tidal wave of patriotism back home was washing across the border. When the Canadian Association of New York held an election-watch party in April – piping in a CBC feed – the venue was packed until after midnight, said Reena Bhatt, the group's vice-president. The event was at Terroir, a Tribeca wine bar owned by Toronto native Paul Grieco. Ms. Bhatt, a lawyer originally from Ottawa who has lived in the U.S.'s largest city for 25 years, said she believes Mr. Carney is 'the right person for this time,' given his level-headed demeanour and economic experience running Canada's and Britain's central banks. 'Are people experiencing the patriotism? I would say yes. I always have been. I feel very patriotic, and I am even prouder to be Canadian today given who's leading our country,' she said. The group is expecting its Canada Day party, at a bar overlooking the Hudson River in Manhattan, to sell out, as it does every year. The most official celebration in the U.S. will be that at the Canadian embassy in Washington on Tuesday. The host, Ambassador Kirsten Hillman, is leading Canada's talks with the Trump administration for a bilateral economic and security agreement. Arguably the most prominently located diplomatic outpost in the city, the embassy sits on Pennsylvania Avenue with sweeping views of the Capitol. The evening celebration will unfold on the building's front terrace, bringing a display of Canadian patriotism to the main street of U.S. political power. On top of these larger events put together by the Canadian government and sundry expat groups, Canadians across the U.S. will be marking the day with more casual celebrations. In Anchorage, Alaska, local Canadians will gather at a lake this Saturday to share food, play games and go canoeing. In Dallas, they will mark the occasion on Sunday with a DJ at an outdoor swimming pool. World Bank employees in Washington are planning a happy hour for Wednesday. They are all examples of the coming-together that Ms. Buckley Burnett is seeing in SoCal. Many expats feel uncomfortable talking about the situation in person but have reached out to her for phone chats. Others have joined protests in recent weeks against Immigration and Customs Enforcement raids. A former political staffer at the Ontario provincial legislature, Ms. Buckley Burnett moved to the U.S. in 2014 with her American husband. She's settled in Santa Monica, Calif., where she works in the non-profit sector. The diversity in her adoptive city means that the Americans she knows have been supportive of their immigrant and expat neighbours. 'The overall sentiment here is that we're lucky we're in California, because everyone has been so welcoming and made us feel at home,' she said. 'In fact, they've been talking about opportunities to move to Canada.'
CBC
6 hours ago
- CBC
Did 'bean mouth' really kill Pixar's Elio at the box office?
Social Sharing Why did Pixar's Elio put up the worst numbers in the studio's history in its opening weekend? The reasons professionals give for the sci-fi family movie's paltry $35 million US global box-office earning vary. But if you ask the internet, there's a far simpler issue at play. "Nobody wants the bean mouth style of character design," wrote one reader when commenting on a post-mortem of Elio 's bombing by the website Cartoon Brew. "It feels lazy, overused, and unoriginal." "The 3D CalArts 'bean mouth' style also just put a lot of people off," read a post on a Reddit thread about Elio 's failure. "Doesn't matter how good the story is, many people hate that animation style." The bean-mouth criticism is an opinion about Elio that's echoed across virtually every platform that allows comments: a one-to-one connection between character design and the audience's decision to stay home. More than that, it's become synonymous with an almost vitriolic hatred for a particular and supposedly ubiquitous art style. Animation journalist John Maher calls it a "pejorative and insult" that far outstrips the style's reach and misunderstands its origin. "It is a reflexive internet criticism," said Maher, the news director for Publishers Weekly. "People found a term that was snappy and catchy and easy to use. And so they hung onto it." Where bean mouth began The terms "CalArts style," "bean mouth" and "thin-line animation," all have different origins and meanings, but they all generally refer to a drawing technique exemplified by thin line-work, simplified features and bean-shaped mouths and heads. When it comes to how the "CalArts style" name came to be — Maher and others often point to Ren & Stimpy creator John Kricfalusi. Starting in the early 2000s, Kricfalusi wrote blog posts criticizing a particular style of art and derivative mentality he believed came out of the California Institute of the Arts — an influential arts and animation school founded by Walt Disney and his brother, Roy, in 1961. His criticisms were pointedly about the style championed by Disney, then copied to diminishing returns — including in movies like Treasure Planet and The Iron Giant. Though the animation in those movies looks nothing like what most people today think of as the CalArts style, the name stuck. And as many graduates of the school became associated with shows and movies that shared a similar bean-mouth design — including Elio, which has a pair of CalArts alumni listed as directors — the two names came to describe a common gripe. "That phrase has become a shorthand for a more fair criticism. Which frankly is: 'Animation as innovation rather than animation as imitation,' " Maher said. "But to call it all CalArts is just so silly and reductive and inaccurate — just fundamentally inaccurate." When asked if CalArts teaches the style, or even observes it in common use among students, Maija Burnett, the school's director of the Character Animation Program, says that's not the case. "Luckily, I can definitely dispel that," she said. "The results of the work from our program is extremely diverse. And so I do not think it typifies what comes from our programs at all." She also says it's unlikely that Pixar chose that animation style because it's cheaper, noting that the studio does most of its animation in-house, developed over years through huge teams, so they wouldn't need to default to any particular style an outside studio would find easier to work with. It's hard to say how pervasive the style is among Pixar movies. Typically only Luca, Turning Red and Elio have received the "bean-mouth" criticism. But Burnett says what people are likely identifying is an intentional technique studios employ. "Often, we can kind of tell like, 'Oh, yeah that seems like it's coming from Sony,' " she said, noting it's natural that Pixar would have a recognizable style because it's important to them both as a brand and as a studio. She says there's also likely a reason certain elements of the style are more widely used today. TV series, for example, often rely on animation techniques that work with contemporary technologies — such as the 1920s "rubber-hose" style of Felix the Cat, the "flash" animation of the early 2000s seen in Canada's 6teen, or the simplified "limited animation" style of Hanna-Barbera, the studio behind The Flintstones that essentially birthed a movement of low-budget animation in the '60s and '70s. As animation techniques progress, Burnett says they'll likely change again to fall in line with new technologies. She also notes that every art form and industry has eras where the output shares similar characteristics: from cubist paintings, to art deco architecture, to postmodern literature. The idea that the bean-mouth style is somehow more pervasive today might be related to nostalgia, she says, noting that the CalArts style was first identified around the time that social media became popular, making it one of the first animation trends to be subject to wider internet scrutiny. Finding like minds to discuss the art you grew up with gives people something to bond over, she says, and so does being able to name and shame the style that seemingly replaced it. Other issues plaguing Elio But box-office analyst Paul Dergarabedian says the look of animated movies is rarely the most important factor in ticket sales, making it unlikely that's what sank Elio. "To me, that's a non-starter," he said, pointing to the Oscar-winning film Flow — animated with the free, open-source software Blender — as an example of how story trumps animation techniques. "That, to me, is like grasping at straws to find a reason that the movie didn't do it." The more likely culprits, he says, include the movie's minimal marketing, its PG rating and a lack of franchise tie-ins. And the more competitive landscape for original stories makes the market for animated movies vastly more challenging than when Pixar's Monsters Inc. or the first three Toy Story movies premiered. Maher agrees, and says the idea that fans suddenly abandoned Pixar over an animation technique is more depressing than believable. "That has nothing to do with thinking that it's like, a lesser work of art because of the shape of the character's mouth. Give me a break," he said. "If that's really what we are condemning art for at this point — we don't like the style so we're not even going to bother to understand the substance — we're in trouble."
